Artwork by Jan Adriaans in the Déiska Collection
The Stacking Man has never been Homeless (2006) ,
Lightbox (100 x 124 cm)
The Stacking Man has never been Homeless (2006) ,
Lightbox (100 x 124 cm)
The Executives Teeth are Slightly Stained (2007)
Photograph 100 x 122 cm
In The Executive’s teeth are slightly Stained I (2007) we see a corner shot of an industrial interior with a stainless steel elevator. Artificial TL lights are captured in the reflection of the black marble tiles which line the walls. We might expect a polished marble floor to complete this otherwise richly furbished lobby, but instead our gaze rests on a tile floor which has been covered with aluminium foil, exacerbating the multitude of reflections. The endless set of reflections of lights on the black marble walls create a sense of infinity, mirroring the repetitive opening and closing of the elevator doors.
Photograph 100 x 122 cm
In The Executive’s teeth are slightly Stained I (2007) we see a corner shot of an industrial interior with a stainless steel elevator. Artificial TL lights are captured in the reflection of the black marble tiles which line the walls. We might expect a polished marble floor to complete this otherwise richly furbished lobby, but instead our gaze rests on a tile floor which has been covered with aluminium foil, exacerbating the multitude of reflections. The endless set of reflections of lights on the black marble walls create a sense of infinity, mirroring the repetitive opening and closing of the elevator doors.
Ultra Bright, Close to Deaf (2007)
Photograph (135-153 cm )
In Ultra Bright, Close to being Deaf (2007) we are confronted with a almost surreal setting. The white waiting room is illuminated by an almost divine light, broken only by the curvilinear white forms redefining the right wall. Who would dare to take a seat on the hovering bench in this pristine room where time seems to be measured by the rotations of the suspended ventilator above?
Photograph (135-153 cm )
In Ultra Bright, Close to being Deaf (2007) we are confronted with a almost surreal setting. The white waiting room is illuminated by an almost divine light, broken only by the curvilinear white forms redefining the right wall. Who would dare to take a seat on the hovering bench in this pristine room where time seems to be measured by the rotations of the suspended ventilator above?
